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fast, though they usually don’t appear in the same series ing youngsters training and caring for exotic creatures as full-sizeOpen mecha, but there are exceptions. A(or in somenim cases machines) that would bee pitted against each other in combat. Th e monsters are usually Modern Powers smart but not sentient, and have not only special pow- Examples: Aquarian Age, Blue Seed, Gatekeepers, ers, but the ability to grow in strength and eventually JoJo’s Bizarre Adventure, Maburaho, Magic User’s Club, “evolve” into a more powerful form with proper care. Mahou Tsukai ni Taisetsu na Koto, Mai-HiME, Read We won’t even get into the possible implications of Or Die, S-Cry-Ed, Tokyo Underground this being a genre that involves cute anime critters in “Modern powers” is what we’ll call a genre of anime cockfi ghts. that involves characters gaining special powers and try- Anyway, pet monster anime is a close relative of ing to cope with them and live normal lives in spite of sports manga. Training monsters and having them fi ght being confronted with whatever dangers those powers is treated as a sport of sorts, and much like a typical bring to them. In eff ect, it’s superheroes without the sports manga (such as Hikaru no Go or Prince of Tennis) spandex or secret identities – though not a few heroes pet monster anime often revolve around a young boy in thisn genre fi nd it preferable to keep their powers starting out as a novice and becoming a master, growing secret from the world at large. -
The Otaku Phenomenon : Pop Culture, Fandom, and Religiosity in Contemporary Japan
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2017 The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan. Kendra Nicole Sheehan University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Comparative Methodologies and Theories Commons, Japanese Studies Commons, and the Other Religion Commons Recommended Citation Sheehan, Kendra Nicole, "The otaku phenomenon : pop culture, fandom, and religiosity in contemporary Japan." (2017). Electronic Theses and Dissertations. Paper 2850. https://doi.org/10.18297/etd/2850 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Humanities Department of Humanities University of Louisville Louisville, Kentucky December 2017 Copyright 2017 by Kendra Nicole Sheehan All rights reserved THE OTAKU PHENOMENON: POP CULTURE, FANDOM, AND RELIGIOSITY IN CONTEMPORARY JAPAN By Kendra Nicole Sheehan B.A., University of Louisville, 2010 M.A., University of Louisville, 2012 A Dissertation Approved on November 17, 2017 by the following Dissertation Committee: __________________________________ Dr. -
Lionsgate and Saban Brands Partner for Power Rangers Live Action Feature Film
LIONSGATE AND SABAN BRANDS PARTNER FOR POWER RANGERS LIVE ACTION FEATURE FILM SANTA MONICA, CA, May 7, 2014 – Lionsgate (NYSE: LGF), a leading global entertainment company, and Saban Brands, a strategic brand management company that acquires and builds global consumer brands, are partnering to develop and produce an original live action feature film based on the iconic Power Rangers property, it was announced today by creator of Power Rangers Haim Saban and Lionsgate Chief Executive Officer Jon Feltheimer. The announcement marks another step in Lionsgate’s continued commitment to build a broad portfolio of branded properties and franchises with global appeal. Saban launched Mighty Morphin Power Rangers as a live action television series more than 20 years ago, and the series has been in continuous production ever since. It has subsequently grown into one of the world’s most popular and recognizable brands, with toys, apparel, costumes, video games, DVD’s, comic books and other merchandise. The two companies noted that, with an extensive and extremely devoted worldwide fan base as well as a deep and detailed mythology, the Power Rangers are primed for the big screen. The new film franchise will re-envision the Mighty Morphin Power Rangers, a group of high school kids who are infused with unique and cool super powers but must harness and use those powers as a team if they have any hope of saving the world. “Lionsgate is the perfect home for elevating our Power Rangers brand to the next level,” said Saban. “They have the vision, marketing prowess and incredible track record in launching breakthrough hits from The Hunger Games to Twilight and Divergent. -
BANDAI NAMCO Holdings Inc.: Consolidated Financial Results
November 8, 2016 Financial Highlights for the First Half of the Fiscal Year Ending March 31, 2017 BANDAI NAMCO Holdings Inc.: Consolidated Financial Results Summary of Income Statement (millions of yen) FY2016.3 FY2017.3 1st Half Full Year 1st Half % vs. Full Year Full Year % vs. Results Results Results Prior Year Forecasts New Forecasts Prior Year Net Sales 272,780575,504 294,569 108.0% 580,000 590,000 102.5% Gross Profit 103,456202,600 111,573 107.8% 205,000 215,000 106.1% Operating Income 31,160 49,641 38,904 124.9% 50,000 57,000 114.8% Recurring Income 33,21550,774 38,291 115.3% 51,000 57,000 112.3% Profit Attributable to 34,583 Owners of Parent 22,762 30,170 132.5% 35,000 39,000 112.8% Net Sales by Segment (millions of yen) FY2016.3 FY2017.3 1st Half Full Year 1st Half % vs. Full Year Full Year % vs. Results Results Results Prior Year Forecasts New Forecasts Prior Year Toys and Hobby 103,985206,424 91,148 87.7% 210,000 200,000 96.9% Network Entertainment 147,209320,941 179,748 122.1% 340,000 350,000 109.1% Visual and Music Production 23,58251,967 27,504 116.6% 43,000 47,000 90.4% Other 13,48827,456 13,056 96.8% 28,000 28,000 102.0% Elimination and Corporate △ 15,483△ 31,285 △ 16,887 - △ 41,000 △ 35,000 - Total 272,781575,504 294,569 108.0% 580,000 590,000 102.5% Operating Income by Segment (millions of yen) FY2016.3 FY2017.3 1st Half Full Year 1st Half % vs. -
Disney Channel’S That’S So Raven Is Classified in BARB As ‘Entertainment Situation Comedy US’
Children’s television output analysis 2003-2006 Publication date: 2nd October 2007 ©Ofcom Contents • Introduction • Executive summary • Children’s subgenre range • Children’s subgenre range by channel • Children’s subgenre range by daypart: PSB main channels • Appendix ©Ofcom Introduction • This annex is published as a supplement to Section 2 ‘Broadcaster Output’ of Ofcom’s report The future of children’s television programming. • It provides detail on individual channel output by children’s sub-genre for the PSB main channels, the BBC’s dedicated children’s channels, CBBC and CBeebies, and the commercial children’s channels, as well as detail on genre output by day-part for the PSB main channels. (It does not include any children’s output on other commercial generalist non-terrestrial channels, such as GMTV,ABC1, Sky One.) • This output analysis examines the genre range within children’s programming and looks at how this range has changed since 2003. It is based on the BARB Children’s genre classification only and uses the BARB subgenres of Children’s Drama, Factual, Cartoons, Light entertainment/quizzes, Pre-school and Miscellaneous. • It is important to note that the BARB genre classifications have some drawbacks: – All programme output that is targeted at children is not classified as Children’s within BARB. Some shows targeted at younger viewers, either within children’s slots on the PSB main channels or on the dedicated children’s channels are not classified as Children’s. For example, Disney Channel’s That’s so raven is classified in BARB as ‘Entertainment Situation Comedy US’. This output analysis is not based on the total output of each specific children’s channel, e.g. -
The Search for the Holy Curl... Grail Our Con Chair Welcomes You to Denfur 2021!
DenFur 2021 The Search for the Holy Curl... Grail Our Con Chair Welcomes You to DenFur 2021! I wanted to introduce myself to you all now that I am the new con chair for DenFur 2021! My name is Boiler (or Boilerroo), but you can call me Mike if you want to! I've been in the furry fandom since 1997 (24 years in total!) – time flies when you're having fun! I am a non-binary transmasc person and I use he/hIm pronouns. If you don't know what that means, you are free to ask me and I will explain – but in sum: I am trans! I am also an artist, part time media arts instructor and a full-time librarian in my outside-of-furry life. I am very excited to usher in the next years of DenFur – I know the pandemic has really been an unprecedented time in our lives and affected us all deeply, but I am hoping with the start of DenFur we can reunite as a community once more, safely and with a whole lot of furry fun! Of course, we will have a lot of rules, safeguards and requirements in place to make sure that our event is held as safely as possible. Thank you everyone for your patience as we have worked diligently to host this event! I hope you all have an amazing convention, and be sure to say hello! TABLE OF CONTENTS Page 2 Page 9 Con Chair Welcome Staff Page 4 Page 10 Theme Dealers Den List Table of contents and artist credit for pages Page 5 Page 11-13 Convention Operating Hours Schedule Grid Page 6 Page 14-21 Convention Map Panel Information and Events Page 7 Page 22 Guests of Honor Altitude Safety Page 8 Page 23-24 Charity Convention Code of Conduct ARTIST CREDIT Page 1 Page 11 Foxene Foxene Page 2 Page 20 RedCoatCat Ruef n’ Beeb Page 4 Page 22 Boiler Ruef n’ Beeb Page 5 Page 23 Basil Boiler Page 6 Page 26 Basil Ritz Page 9 Basil On Our Journey In AD 136:001:20:50,135 years after the first contact between the Protogen and the furry survivors, the ACC-1001 Denfur launched a crew of 2500 furries into space. -
Digimon Adventure: Last Evolution Kizuna” Arrives in North America on Digital September 29 and Home Video October 6
2OTH ANNIVERSARY FILM “DIGIMON ADVENTURE: LAST EVOLUTION KIZUNA” ARRIVES IN NORTH AMERICA ON DIGITAL SEPTEMBER 29 AND HOME VIDEO OCTOBER 6 Highly Anticipated New Movie from Toei Animation Available for First Time in U.S. and Canada in Both Original Japanese and English Dub as Digital Download and on DVD and Blu-ray LOS ANGELES – July 20, 2020. Fans will soon welcome the DigiDestined into their homes to watch the long- awaited, 20th anniversary feature film “Digimon Adventure: Last Evolution Kizuna.” This fall, Toei Animation and Shout! Factory are bringing this new animated movie to North America for the first time ever as both a digital and home video release. On September 29, “Digimon Adventure: Last Evolution Kizuna” will debut first as a digital download available in original Japanese with English subtitles or English dub on Amazon Prime Video, iTunes, Microsoft and Sony PlayStation Network; followed a week later on October 6 with the retail home video release on DVD and Blu-ray Combo Pack (Blu-ray + DVD from Shout! Factory). To mark today’s announcement, Toei Animation premiered the official English dub trailer on IGN as well as revealed the film’s English dub cast (provided below). A must-own for fans, collectors, and pop culture enthusiasts, the highly collectible DVD and Blu-ray Combo Pack editions of “Digimon Adventure: Last Evolution Kizuna” boast not only the exciting movie presentation (featuring both sub and dub versions) but also the insightful bonus feature “The Final Evolution: Remembering 20 Years of Digimon Adventure with Joshua Seth and Tom Fahn.” Now available for pre-order on ShoutFactory.com, advance purchases of the “Digimon Adventure: Last Evolution Kizuna” Blu-ray Combo Pack also include an exclusive 18”x 24” lithograph of the cover art while supplies last. -
Pros and Cons: Anime Conventions and Cosplayers
PROS AND CONS: ANIME CONVENTIONS AND COSPLAYERS by Angela Barajas THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Sociology at The University of Texas at Arlington December 2018 Arlington, Texas Supervising Committee: David Arditi, Supervising Professor Kelly Bergstrand Heather Jacobson Copyright by Angela Barajas 2018 ACKNOWLEDGEMENTS I would like to thank Dr. David Arditi, my thesis advisor, for encouraging me to think critically about all of my work, especially culture. I would also like to thank Dr. Heather Jacobson and Dr. Kelly Bergstrand for their support as my thesis committee. Thank you all. i DEDICATION I would like to thank my family and friends who have supported me through this thesis project and my overall academic career. They have been there to bounce ideas off and complain to. Thank you for your interest in my work. ii ABSTRACT Pros and Cons: Anime Conventions and Cosplayers Angela Barajas, M.A. The University of Texas at Arlington, 2018 Supervising Professor: David Arditi Among the brightly-hued convention (con) halls, people dressed in feathers, foam armor, and spandex pose for pictures with one another as cosplayers. Cosplay is a way for fans to present themselves and their group to the fan community on a con-wide scale. Originally, I planned to investigate how cosplayers navigate their identities as cosplayers and as members of mainstream American society and how do these two identities inform each other. I sought to understand cosplayer’s identities as laborers within their cosplay groups. Using ethnographic research methods, I interviewed eleven participants and conducted participant observations. -
Juuma Houkan Accele Brid Ace Wo Nerae! Acrobat Mission
3X3 EYES - JUUMA HOUKAN ACCELE BRID ACE WO NERAE! ACROBAT MISSION ACTRAISER HOURAI GAKUEN NO BOUKEN! - TENKOUSEI SCRAMBLE AIM FOR THE ACE! ALCAHEST THE AMAZING SPIDER-MAN - LETHAL FOES ANGELIQUE ARABIAN NIGHTS - SABAKU NO SEIREI-O ASHITA NO JOE CYBERNATOR BAHAMUT LAGOON BALL BULLET GUN BASTARD!! BATTLE SOCCER - FIELD NO HASHA ANCIENT MAGIC - BAZOO! MAHOU SEKAI BING BING! BINGO BISHOUJO SENSHI SAILOR MOON - ANOTHER STORY SAILOR MOON R BISHOUJO SENSHI SAILOR MOON SUPER S - FUWA FUWA PANIC BRANDISH 2 - THE PLANET BUSTER BREATH OF FIRE II - SHIMEI NO KO BS CHRONO TRIGGER - MUSIC LIBRARY CAPTAIN TSUBASA III - KOUTEI NO CHOUSEN CAPTAIN TSUBASA V - HASH NO SHOUGOU CAMPIONE CARAVAN SHOOTING COLLECTION CHAOS SEED - FUUSUI KAIROKI CHOU MAHOU TAIRIKU WOZZ CHRONO TRIGGER CLOCK TOWER CLOCKWERX CRYSTAL BEANS FROM DUNGEON EXPLORER CU-ON-PA SFC CYBER KNIGHT CYBER KNIGHT II - CHIKYUU TEIKOKU NO YABOU CYBORG 009 DAI 3 JI SUPER ROBOT WARS DAI 4 JI SUPER ROBOT WARS DAIKAIJ MONOGATARI DARK HALF DARK LAW - THE MEANING OF DEATH DER LANGRISSER DIGITAL DEVIL STORY 2 - SHIN MEGAMI TENSEI II DONALD DUCK NO MAHOU NO BOUSHI DORAEMON 4 DO RE MI FANTASY - MILON NO DOKIDOKI DAIBOUKEN DOSSUN! GANSEKI BATTLE DR. MARIO DRAGON BALL Z - HYPER DIMENSION DRAGON BALL Z - CHOU SAIYA DENSETSU DRAGON BALL Z - SUPER BUTOUDEN DRAGON BALL Z - SUPER BUTOUDEN 3 DRAGON BALL Z - SUPER GOKUDEN - TOTSUGEKI HEN DRAGON BALL Z - SUPER GOKUDEN - KAKUSEI HEN DRAGON BALL Z - SUPER SAIYA DENSETSU DRAGON QUEST I AND II DRAGON QUEST III - SOSHITE DENSETU E... DRAGON QUEST V - TENKUU NO HANAYOME -
Alter/Ego: Superhero Comic Book Readers, Gender and Identities
Alter/Ego: Superhero Comic Book Readers, Gender and Identities A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in Gender Studies in the University of Canterbury by Anna-Maria R. Covich University of Canterbury 2012 Table of Contents Acknowledgements ____________________________________________ i Abstract _____________________________________________________ ii Chapter 1: Introduction ________________________________________ 1 Why superheroes? ................................................................................ 3 Hypermasculine heroes ........................................................................ 6 The uncharted world of superhero fandom .......................................... 9 The Geek community 10 Identification 11 Thesis agenda ..................................................................................... 16 Chapter 2: Context ___________________________________________ 18 A post-structuralist feminist approach................................................ 18 Theorising ‘reception’ ........................................................................ 20 Fandom ............................................................................................... 23 Comics fandom in cultural contexts ................................................... 25 Conclusion .......................................................................................... 28 Chapter 3: Research Strategies _________________________________ 29 Developing research strategies .......................................................... -
Memória E Afeto Na Fanpage Digimon Adventure Tri Brasil No Facebook1
PPGCOM ESPM // SÃO PAULO // COMUNICON 2016 (13 a 15 de outubro de 2016) Nós não esquecemos os nossos digivices: memória e afeto na fanpage Digimon Adventure Tri Brasil no Facebook1 Mayara Araujo2 UERJ Resumo O artigo explora questões relacionadas ao consumo de experiências, afeto e memória nas redes digitais brasileira, tomando como locus privilegiado a principal fanpage de Digimon Adventure Tri no Facebook. Busca-se, dessa forma, contribuir com o debate acerca do consumo de cultura pop japonesa no Brasil, bem como o relacionamento existente entre os fãs brasileiros e as animações japonesas, popularmente conhecidas como animês. Palavras-chave: Entretenimento; Consumo; Fandom; Cultura pop japonesa; Digimon. Introdução Criado nos anos 1990, a animação japonesa Digimon aproveitou a abertura proporcionada pelo carro-chefe Pokemon para também criar uma legião de fãs ao redor do globo. A série foi transmitida no Brasil pela TV Globo, pela Fox Kids e, mais tarde, pela Jetix. Por ter sido exibido em redes abertas e fechadas de televisão, o alcance de um grande público brasileiro foi conquistado. Em comemoração ao aniversário de 15 anos da série, a produtora Toei Animation anunciou o retorno de Digimon Adventure Tri em 2015, uma série de seis filmes que prossegue com as histórias da primeira temporada e segunda da animação. 1 – , consumo, memória: cenas culturais e midiáticas, do 6º Encontro de GTs de Pós-Graduação - Comunicon, realizado nos dias 14 e 15 de outubro de 2016. 2 - . E-mail: [email protected] PPGCOM ESPM // SÃO PAULO // COMUNICON 2016 (13 a 15 de outubro de 2016) Assim, os personagens que cativaram o público no final dos anos 1990 e início dos anos 2000 estão de volta e cresceram junto com seus fãs. -
Big Media, Little Kids: Media Consolidation & Children's
DOCUMENT RESUME ED 475 660 PS 031 233 AUTHOR Glaubke, Christina Romano; Miller, Patti TITLE Big Media, Little Kids: Media Consolidation & Children's Television Programming. INSTITUTION Children Now, Oakland, CA. PUB DATE 2003-05-21 NOTE 17p.; Additional support provided by the Philadelphia Foundation and Atlantic Philanthropies. AVAILABLE FROM Children Now, 1212 Broadway, Suite 530, Oakland, CA 94612. Tel: 510-763-2444; Fax: 510-763-1974; e-mail: [email protected]; Web site: http://www.childrennow.org. For full text: http://www.childrennow.org/media/fcc-03/fcc-ownership-study- 05-21-03.pdf. PUB TYPE Reports Research (143) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS *Centralization; *Childrens Television; Comparative Analysis; Mergers; *Programming (Broadcast); Television Research IDENTIFIERS California (Los Angeles); Federal Communications Commission ABSTRACT The Federal Communications Commission is currently considering modifying or eliminating existing media ownership rules. Children's advocates are concerned that any changes to these rules could negatively affect the already limited amount and types of programming available for children. Children Now conducted the first study to examine the availability and diversity of children programming in an increasingly consolidated media marketplace. Los Angeles was selected as a case study for this research because it is the second largest media market in the country, and two duopolies now exist among its television stations. The study compared the children's programming schedules from 1998, when the market's seven major commercial broadcast television stations were owned by seven different companies, to 2003, after consolidation reduced the number to five. The findings suggest that changes to the current ownership policies will have a serious impact on the availability and diversity of children's programming.